CHOCOLATE BARFI : A NOVELTY OF JAMMU

                                     

Chocolate Barfi, A Novelty of Jammu

In Jammu, everyone calls it 'Chocolate Barfi', not Doda Barfi. They look similar, but the difference is what makes it a novelty. Jammu's Chocolate Barfi is pure khoya based. No chocolate is ever added. Its deep brown colour comes only from roasting fresh khoya and sugar together  in Desi ghee till it naturally caramelises. The result is dense, grainy, fudge-like and melt-in-the-mouth, always topped with chopped cashew nuts and Char-magaz. It comes in packed boxes weighing 500 gms and one kg , the sweet every Jammuite carries when travelling.

I once took two boxes to Paris : Patisa of Prem Sweets and Chocolate Barfi of Jalian Di Hatti. The chocolate Barfi was loved, liked and admired for its flavour , taste and deliciousness. My French relations could not believe there was no chocolate in it. They loved the grainy flour, the caramelised taste and the pure deliciousness that only Desi Ghee can give.

Best Shops in Jammu for Chocolate Barfi

1. Jalian Di Hatti, Jain Bazar

The famous and my personal favourite. Located in the  old city  , this shop's Desi Ghee Chocolate Barfi can be  considered the benchmark for the whole city. The aroma of roasted Khoya hits you before you enter. The shop primarily  sells Qatlame and Feeni  which  Jammuites bring for relatives in India and  abroad.

2. Prem Sweets - New Plots And Kud

Equally famous for two things :  Chocolate Barfi and its flaky, golden Patisa. If you are buying for gifting, many people buy one box of each here. Their Kud branch is a must-stop on the Jammu-Srinagar highway. New Plots shop  also remains  crowded with buyers.

3. Pahalwan Sweets

The biggest chain for this Barfi. You will find them at Pacci Dakki (their original shop), Gandhi Nagar, Wave Mall, Canal Road and Bari Brahmana. Consistent taste and very good packing for travel.

4. Mahajan Sweets - Canal Road

Known for a slightly darker roast and a richer caramel flavour. Preferred by those who like their barfi a little more intense.

5. Sain Ji - Pacca Danga & Trikuta Nagar

An old name in Jammu, loved for its clean, pure Ghee taste and generous topping of nuts.

There are many more shops selling chocolate Barfi. A few leading shops have also opened outlets inside Jammu  airport terminal .I recently bought Patisa from Prem Sweets outlet inside Jammu airport's departure terminal.

Important Tip from every Halwai

 Do not put it in the fridge ,  it hardens and loses its grain. Keep it at room temperature. Buy less. Its shelf life is only 5-6 days because it is made of pure khoya with no preservatives.

How to Make it at Home -:A Simple Version

The authentic Jammu method needs kilos of khoya and hours of roasting. Here is a 20-minute home-style version that gives you a close taste.

Ingredients for 10 servings:

1/2 cup milk powder, 1/2 tbsp unsweetened cocoa powder, 1/2 cup sugar, 1/3 cup water, 1 tbsp melted ghee + extra for greasing, melon seeds and cashew nuts to garnish.

Method:

1. Mix milk powder and cocoa powder very well and keep aside.

2. Grease a plate with ghee.

3. In a pan, add sugar and water, stir till sugar dissolves. Boil till you get a single-string consistency - when you test between fingers, it forms a thin string.

4. Add the milk powder and cocoa mixture, keep stirring on low flame.

5. In a few seconds it will become thick but still flowing. Add melted ghee, give a quick stir and switch off the flame.

6. Transfer to the greased plate, flatten with the back of a spoon, garnish with melon seeds and cashew nuts.

7. Cut quickly with a knife while warm and let it cool completely.

Your yummy chocolate barfi is ready. Remember, the shop one gets its colour from caramelised khoya, the home one gets it from a little cocoa. For that legendary desi ghee aroma, you still have to come to Jain Bazar.

( Avtar Mota )

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AMRITSARI KULCHA HUT IN TALAB TILLO , JAMMU

                                    

                                           

If Halwa Shop is  Closed,  Amritsari Kulcha Hut  Opposite V Mart Talab Tillo, Jammu ,  Brings  a New  Great Food  Legacy To The Locality 

Among the most cherished morning rituals of Jammu is the Desi Ghee Suji Halwa of City Chowk. Sold from an enormous Paraat  since nineteen fifty eight and known to everyone as Sharma Ji or Pandit Ji ka halwa, it is served piping hot in a leaf dona with a small wooden spoon and is completely sold out by half past eight in the morning. It is more than food, it is memory, and it has set the standard for what an authentic old city breakfast should be, simple, rich in ghee and deeply nostalgic. For many who grew up in Jammu, the day felt incomplete without it.

There was another equally loved institution at Talab Tillo, also run by an elderly gentleman called Sharma Ji. Those of us who lived nearby would buy Halwa from him and would always ask for Treid. Tried is the hard caramelised crust that forms at the bottom of the Paraat after continuous heating for hours. It turns a little  brown, gets soaked in ghee and becomes intensely flavourful. For connoisseurs it was never waste but a delicacy in itself, given only to regular customers who knew to ask for it. Unfortunately that shop closed after Covid and with it a small but important piece of Talab Tillo food heritage disappeared, leaving the area without any proper breakfast destination.

It is in this context that the newly opened shop opposite V Mart Store at Talab Tillo is such a welcome arrival. The outlet is called  Amritsari Kulcha Hut (Pure Desi Ghee)  Since Nineteen Ninety Nine and Na Ma Taste. The family that owns it is not new to this trade at all. They run the reputed and long established Amritsari Kulcha shop at Bus Stand in Jammu city, known for decades for its consistent taste. This new branch therefore brings a trusted legacy to a locality that has been waiting for a good morning eatery. The premises are clean and modern and unlike the congested lanes of the old city it offers proper parking space and restroom facility as well, which makes it very convenient for families and for those travelling by car.

While Kulcha remains the main attraction, the menu is far larger than a single item shop . Kulchas are served with chana, chutney and Amul butter and are made fresh in the tandoor, very crisp outside and soft and flavourful inside. Varieties include Aloo Kulcha at one hundred rupees, Mix Veg at one hundred and twenty, Aloo Pyaaz at one hundred and twenty, Aloo Gobi at one hundred and twenty, Chilli Aloo at one hundred and twenty, Aloo Garlic at one hundred and thirty, Moong Dal Aloo at one hundred and thirty, All In One at one hundred and forty, Paneer Aloo Pyaaz at one hundred and forty, Paneer Pyaaz at one hundred and seventy and the special Maharaja Kulcha stuffed with paneer and dry fruits at two hundred rupees. There is also an option for one hundred percent whole wheat and for Chur Chur style at ten rupees extra. Rice combos such as Rajma Chawal and Chholey Chawal are priced at one hundred and forty rupees. Under their sister brand Na Ma Taste, with the aim of bringing together authentic South Indian food and flavourful Indian chaat made fresh with care and hygiene, they offer Gol Gappe at eighty rupees, Kaladi Kulcha at ninety, Aloo Tikki with Dahi at one hundred, Papdi Chaat and Bhalla Chaat at one hundred and twenty, Pav Bhaji at one hundred and forty, Plain Dosa at one hundred, Masala Dosa at one hundred and twenty, Butter Masala Dosa at one hundred and forty, Paneer Dosa at one hundred and forty, Idli Sambar at one hundred and Vada Sambar at one hundred and twenty, along with Sweet Kesar Lassi, Zeera Namkeen Lassi, Pudhina Namkeen Lassi at seventy rupees and Mango, Strawberry, Pineapple and Chocolate Lassi at ninety rupees.

In conclusion this shop has done full justice to the long pending demand for some authentic Amritsari Kulcha in this area. Everything is tasty, fresh and clean and the combination of very crisp Kulcha with salt Lassi is excellent. It is a perfect spot for breakfast in Talab Tillo. The only issue that remains is that you cannot have your Kulcha before nine in the morning. I returned disappointed twice for this very reason. If they can start a little earlier, perhaps by eight o clock, this place will become the undisputed morning destination for the lovers of breakfast food. 

( Avtar Mota )

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DHĀRA-LIṄGA FROM ANCIENT KASHMIR

                                                   

                 

   (Dhara-Linga: above 4 photos by Robin Koul )

DHĀRA-LIṄGA FROM ANCIENT KASHMIR

My friend Robin Koul visited the Shivalaya Temple at Gundi Jaffar, near Sadoora in Anantnag district, and heard an interesting account concerning the Dhāra-liṅga preserved there. The village is located close to Sadoora Railway Station. It is an ancient settlement, and before 1990, approximately 26 Kashmiri Pandit families lived in the village.

Robin visited the Shivalaya, which is presently facing severe neglect and remains roofless. The existing dilapidated temple was constructed in 1970 on land donated by Amar Nath Pandit of the village. The Dhāra-liṅga was discovered by Pandit Lassa Koul, who was working in the Forest Department, under a tree in the Devsar forest.

While on duty, Pandit Lassa Koul of Gundi Jaffar came across the Dhāra-liṅga/Shiva-liṅga in a deep forest area near Lamber, Devsar, in Kulgam district. Lamber is also recorded in official records as Brinial Lamar or Lammer. It is located in the Kund area of Kulgam. The Linga was initially brought to Vasuk Nag at Kund. Later, it was shifted to the present temple at Gundi Jaffar. According to eyewitnesses, it was transported by truck.

The new Shivalaya was damaged by hooligans in 1986, when many Hindu temples were attacked in Anantnag district. In 1970, apart from placing the ancient Dhāra-liṅga inside the new temple, the residents also installed two stone idols of Rādhā-Kṛṣṇa for worship inside the temple. These Rādhā-Kṛṣṇa idols are now missing and were possibly stolen after 1990, when the entire Pandit population of the village was forced to leave to save their lives and honour.

Robin also informed me that he had visited Panch Gangbal Nag. This is another old sacred site near Gundi Jaffar, located at a place known as Ganura Lalan. According to local elders, on the occasion of Gangāṣṭamī, people from the neighbouring villages used to gather here, take a holy bath, and perform Śrāddha rituals. There were five freshwater springs, or sacred Nāgas, at the site. The area was surrounded by old Chinar trees, which added to the beauty and sanctity of the place.

Let me now clarify what a Dhāra-liṅga is and why the Dhāra-liṅga lying in a state of total neglect at the Shivalaya at Gundi Jaffar, near Sadoora Railway Station in Anantnag district of Kashmir, is of considerable significance.

What Is a Dhāra-liṅga?

The Śilpaśāstra tradition describes five variants of the Mānuṣa-liṅga (man-made liṅga): the Aṣṭottara-śata-liṅga (101/108 liṅgas), the Sahasra-liṅga (1001/1008 liṅgas), the Dhāra-liṅga, the Śaiveṣṭya-liṅga, and the Mukha-liṅga.

Dhārāliṅga is a class of Mānuṣa-liṅga (a liṅga made by human hands) classified in the Śaivāgamas. Every Mānuṣa-liṅga consists of three principal parts: the Brahmabhāga, Viṣṇubhāga, and Rudrabhāga. These are carved with lines known as Brahmasūtras. The Dhāra-liṅga was also popular in ancient Kashmir. Unlike a smooth liṅga, its Rudrabhāga, or upper portion, is carved with continuous spiral or horizontal grooves known as Dhārā or Sarpabandha. When abhiṣeka is performed, the water is divided into numerous streams by these carved channels. When the lines number 108, the liṅga is called a Śatadhāra. When there are 1008, it is known as a Sahasra-Dhāra Liṅga, in which a single liṅga is symbolically equivalent to one thousand liṅgas.

Iconography of the Dhāra-liṅga at Gundi Jaffar

The Liṅga visible in the photograph appears to be a classic Sahasra-Dhāra type. It is made of a single piece of hard limestone and is tall, slightly tapering, and elliptical at the top. Rope-like diagonal Dhārās cover the entire surface of the Liṅga. The Yoni-pīṭha below is decorated with carved chakra, lotus petals, and geometric motifs. This style has been regarded as characteristic of the temple architecture and sculptural traditions of Kashmir. As is customary with a Dhāra-liṅga, it has three distinct parts. As seen in the photograph, these may be identified as follows:

1. Rudrabhāga — Topmost/Pūjābhāga

The uppermost portion is elliptical in form and is covered with diagonal, rope-like dhārās. This is the principal worshipped portion of the liṅga. According to the visual identification provided here, this section contains 1008 miniature liṅgas arranged in 21 rows of 48.

2. Viṣṇubhāga — Middle Portion

The middle portion is octagonal or transitional in form. In the photograph, it appears to merge visually with the lower square section and is visible as a slightly raised band beneath the fluted upper portion.

3. Brahmabhāga — Lowest/Base Portion

The lowest portion consists of a square block. In the photograph, it is heavily carved with double-spiral chakra motifs, lotus designs, and geometric ornamentation. It is presently fixed within a modern red-cement Yoni-pīṭha.

All three portions appear to have been carved from a single stone, as prescribed for the Sarvasama-liṅga.

Antiquity

Such liṅgas have been associated with the Karkota and Utpala periods, particularly the 8th to 10th centuries CE, a period often regarded as a formative and culturally significant phase in the development of Kashmir Śaivism. If the stylistic and iconographic attribution of the Gundi Jaffar liṅga is correct, it could potentially belong to this broad historical horizon and may therefore be approximately 1,200–1,300 years old. Local elders refer to it as a “Dhāru Liṅga” and associate it with rain, fertility, and the removal of obstacles. It is considered particularly auspicious for Jalābhiṣeka within the local religious tradition and is associated with the ritual significance of water in Kashmir Śaiva practice.

Significance

According to the Kashmir Āgama tradition as understood locally, the Dhāra-liṅga is considered highly auspicious for Jalābhiṣeka and is associated with rain, fertility, and the removal of obstacles. Local elders refer to the object as a “Dhāru Liṅga.” The distinctive treatment of the surface, the multiplicity of carved channels or miniature liṅga forms, and the ritual relationship between the liṅga and water make the Dhāra-liṅga an important subject for the study of Kashmir's religious art, Śaiva iconography, and temple traditions.

Present Status

This approximately 1,200-year-old Sahasra-Dhāra Liṅga, if the proposed dating and identification are confirmed through archaeological and art-historical examination, represents an object of considerable religious, artistic, and archaeological significance. At present, however, it is reportedly lying in a state of total neglect in a roofless temple without adequate protection. The condition of the Shivalaya and the exposed status of the ancient liṅga raise serious concerns regarding its preservation. The monument and the liṅga require appropriate protection, documentation, conservation, and safe custody so that this important element of Kashmir's ancient Śaiva heritage is not lost or further damaged.

The Dhāra-liṅga of Gundi Jaffar is therefore not merely an object of local religious veneration. It potentially represents an important surviving example of Kashmir's distinctive Śaiva sculptural tradition and deserves careful archaeological, epigraphic, iconographic, and art-historical study. Its present condition makes the need for documentation and preservation particularly urgent.

(Avtar Mota)

PS

Photographs by Robin Koul

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
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SWARN THEATRE, GOLE MARKET, GANDHI NAGAR, JAMMU: AN ORAL AND LOCAL HISTORY

                                        

SWARN THEATRE, GOLE MARKET, GANDHI NAGAR, JAMMU: AN ORAL AND LOCAL HISTORY 

According to many elders, the site was seen as an open ground in 1964 when it was being demarcated with big stones coloured with white lime for a cinema theatre under the name and style "Swarn Theatre". The ground where Swarn Theatre stands today used to be a bus stop for buses coming from Panjtirthi. There was a regular SRTC bus service from Panjtirthi to Gandhinagar. It was before Jammu City got three-wheeler tempos as a viable means of public transport. It was the first premiere show at Swarn, screened in May-June 1969. The first movie screened in the hall, Saajan, starring Manoj Kumar and Asha Parekh, had huge crowds at each show and had a packed hall for many weeks.

The theatre was owned by the Bhalla and Khurana families of Jammu. For film procurement, the proprietors conducted business with Elora Films, a reputed film distribution house based in Jalandhar. It is recorded that Swarn Theatre was probably the first cinema hall in Jammu to be equipped with a Dolby Sound System.

An interesting architectural detail of Swarn Theatre, Gole Market was that the words “70 MM” were written boldly at the top of the building on its perforated sail-form facade; this was a common practice of single-screen cinemas of the 1970s-80s to advertise prestige and attract audiences, as 70mm implied a big-screen, stereophonic sound spectacle even when many halls, including those in Jammu, were essentially 35mm halls equipped with improved sound systems, and Swaran’s bold 70 MM signage thus signalled its claim to offer the best cinematic experience in the city.

The cultural significance of the hall is evident from the reception of Raj Kapoor's films.  Bobby was released in this hall and drew crowds from all corners of Jammu province. Another film, Raj Kapoor's Dharam Karam, was noted to have run for a long time and attracted large crowds at this cinema hall.

The theatre held particular importance for Kashmiri audiences. It was a cinema hall in Jammu that was thronged by Kashmiris during winters when families shifted to Jammu, the winter capital, primarily on account of the Darbar Move. A distinguishing feature noted by viewers was that here people did not have to deal with ticket black-marketeers, as was the usual practice in the cinema halls of the Kashmir Valley. I remember having seen some Hollywood movies in the morning show in this cinema hall.

A local viewer retains a hazy recollection of watching Tezaab in this hall with his family. Shortly thereafter, with the onset of terrorism in the Kashmir Valley, Jammu city also witnessed instances of violence, including a bomb blast in a movie theatre. Consequently, families imposed a self-regulated curfew on visits to cinema halls.

This security environment led to a structural change in exhibition practice. All movie theatres in Jammu altered their show timings. The late-night 9:00 p.m. show was cancelled and a new morning 9:00 a.m. show was introduced. Despite this, viewership persisted. A viewer recalls obtaining parental permission to watch Dilwale Dulhania Le Jayenge with friends, seated in the fourth row from the screen in the lower stall, and later viewing ' Hum Aapke Hain Kaun' and 'Pyaar Kiya To Darna Kya'. According to his recollection, 'Koi Mil Gaya' was the last film he watched there, indicating continued operation at least until 2003.

The decline is attributable to two intersecting factors. First, the pan-Indian decline in single-screen theatre revenues, with the exception of small centres, rendering maintenance economically unviable. Second, a rumoured dispute amongst the partners with litigation pending before the court.

My friend and colleague Pran Wali has this to add:

"During 1970- 1971, we- myself, Nanajee Bhan and B L Kakroo used to visit Swarn Theatre for late evening shows, then used to come back home on foot up to our respective places: Julakah Mohalla, Lakshmi Mandir Lane, Pacca Danga.and Peer Mitha. Once, we went to see 'Mera Naam Joker' in Shanker Theatre on Canal Road. It was also a late show. The cinema hall had no generator. The movie was also more for more than 3 hours due and due to frequent power cuts, we left Shanker Theatre at approximately 1.30 AM . So, we could not go to our respective places. We had a night stay at the Bus Stand, which was a new structure and was not inaugurated till then. In the morning, we went to Shiv Mandir and had a bath and then left for our respective residences. That was life those days."

My friend Anil Azad informs this :

"During the seventies and eighties, Swaran Theatre was known for screening the best English movies. Jammu's Elite could be seen there. I had the opportunity to watch Laurel and Hardy, Is Paris Burning, God Father, ABBA, Apple, The Other Side of Midnight, Where Eagles Dare, Dirty Dozen, Godfather, Papillion, James Bond movies, Clint Eastwood Cowboys Movies, Mackenna's Gold, Benhur and scores of others."

My friend and colleague Anil Bali has this to add:

"The first release was undoubtedly Saajan; it was a real treat to watch a movie in this theatre. After Saajan, another release was Gopal Sehgal’s Gustakhi Maaf - comedy, then was the movie Doli and so on and so forth; anyways, simply nostalgic for me. I hold many memories of this cinema hall and of the active partner, Mr Khorana. While talking about this cinema, the role of Mr Bansi Lal, proprietor of Monika Super Market, will also be remembered. He used to provide tickets to viewers known to him much before the ticket window was opened. "

I visited the place on 3rd October, 2026. Considered as the most elegant, disciplined and prestigious movie theatre in Jammu, I  found it in a dilapidated state, in a condition of destitution, with no apparent caretaker. Vegetation has grown extensively in the structure, both in the front facade and at the top. Two trees are observed growing on the roof above the perforated sail-form screen, with additional saplings emerging from the concrete jali and the canopy. A parking space has been created directly in front of the cinema gates, now used for private vehicles. The structure remains standing but non-operational as of 2026. Whether it will be restored, or eventually demolished to make way for a multiplex or commercial complex, remains undetermined.

For the cinema-going generation of its time, however, its mere mention continues to evoke a substantial corpus of cultural memory.

( Avtar Mota )

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http://autarmota.blogspot.com\.

GAGAN MEIN THAAL AARTI BY GURU NANAK DEV JI

                                   

 ‘Gagan Mein Thaal’ : Aarti Written by Guru Nanak Dev Ji

This celestial Aarti was composed by Guru Nanak Dev Ji, the first Guru of Sikhism, in the early 16th century. It is enshrined in the Guru Granth Sahib Ji, Raag Dhanasari, on page 663.

 The Shabad was composed during Guru Nanak’s first Udasi, his great spiritual journey to the East. In 1506-1510, he arrived at the revered Jagannath Temple in Puri, Odisha and stayed for some days in Puri.

One evening, the temple’s magnificent ritual Aarti commenced. Priests held a jewelled platter filled with lamps, incense, flowers and whisks, circling it before the deity. Guru Nanak did not join. When asked why, he replied that the Almighty, who created the universe, cannot be worshipped with a mere platter. The entire cosmos is already performing His Aarti. He then sang this hymn that had been composed by him.  It shifted worship from ritual to realisation ,  from a man-made ceremony to nature’s eternal worship.

 In Sikh tradition, it  is sung as a hymn of praise. It is recited daily after Rehras Sahib and Ardas in the evening at Harmandir Sahib, Amritsar, and in most Gurdwaras worldwide. It is also recited upon completion of an Akhand Paath. Among Nihang Singhs and at Takht Patna Sahib and Hazur Sahib, an elaborate form  of Aarti with lamps, conch shells and bells is still performed. Here is the Aarti

"Gagan mai thaal, rav chand deepak bane, tarika mandal janak moti.

Dhoop mal-aanlo, pawan chavro kare, sagal banrai phoolant jyoti. ||1||

Kaisi aarti hoye, bhav khandana teri aarti.

Anhata shabad vajant bheri. ||1|| Rahao ||

Sahas tav nain, nan nain heh tohi kau, sahas murat nana ek tohi.

Sahas pad bimal, nan ek pad gandh bin, sahas tav gandh iv chalat mohi. ||2||

Sabh meh jyot, jyot hai soye.

Tis dai chaanan, sabh meh chaanan hoye.

Gur sakhi jyot pargat hoye.

Jo tis bhaavai, so aarti hoye. ||3||

Hari charan kaval makarand lobhit mano, an-dino mohi aahi piyaasa.

Kripa jal deh Nanak sarang kau, hoye jaate terai naam vaasa. 

(Sky is the platter, Sun and Moon are the lamps, stars are the pearls.

Fragrant wind is incense, wind is the fan, all forests are flowers and light.

What an Aarti is this, O Destroyer of fear, Your Aarti!

The unstruck sound of the Universe plays like drums.

You have thousands of eyes, yet You have no eye. Thousands of forms, yet no form.

Thousands of lotus feet, yet no feet. Without nose, You have thousands of fragrances.

In all there is Your Light, Your Light is in all.

By Guru's wisdom, that Light is revealed. Whatever pleases Him, that itself becomes Aarti.

My mind like a bee craves the nectar of Your lotus feet, day and night I thirst for You.

Give Your mercy-water to Nanak, the chatak bird, so I may live in Your Name.

The Tagore Connection:

Rabindranath Tagore held this Aarti in the highest esteem. When actor Balraj Sahni, then a teacher at Santiniketan, asked Tagore why he did not write an anthem for the world as he had written Jana Gana Mana for India, Tagore answered, “It has already been written  in the 16th century by Guru Nanak, not for the world, but for the entire universe.” So inspired was he that he translated it into Bengali himself, beginning: “Gagane thal rabi chandra dipak jwale, taraka mandal chamake mukuti…”

This universal Aarti has been sung by almost all great Hazuri Ragis and artists including the most famous version by Bhai Harbans Singh Ji Jagadhari Wale, Bhai Nirmal Singh Ji Khalsa whose version was composed by Uttam Singh for the film Nanak Shah Fakir, Bhai Balwinder Singh Ji Hazuri Ragi, Bhai Surinder Singh Ji Jodhpuri, Bhai Satwinder and Harvinder Singh Ji Delhi Wale, Bhai Gurmej Singh Ji, Bhai Ravinder Singh Ji and Bhai Harjinder Singh Ji Srinagar Wale who has kept its traditional style alive, as well as by Sufi and classical voices like Jagjit Singh, Ustad Shafqat Ali Khan, Hans Raj Hans and Anup Jalota.

( Avtar Mota )

PS

After completing his Masters, Balraj Sahni and his wife Damayanti joined Tagore's Vishwa-Bharati University, Shantiniketan as teachers of English and Hindi from 1937 to 1939 and worked directly under Gurudev, who even named their son Parikshit. It was during these intimate interactions at Santiniketan that the famous conversation took place where Sahni asked Tagore to write an anthem for the world and Tagore replied that it had already been written some centuries ago by Guru Nanak as ,"Gagan Mein Thaal".

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
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